Написание эссе в МЛА формате на английском языке

Pope’s Studying English Literature and Language discusses Vladimir Propp’s influential Morphology of the Folktale (1928), in which he suggested that “popular narrative is substantially formulaic in nature”; Propp “distinguished such roles as ‘hero’, ‘helper’, ‘dispatcher’, ‘villain’[, ‘donor’, ‘false hero’] and ‘princess’ and argued that these function in folktales in predictable ways” (Pope 244). Focusing on the seven character-functions, consider Chopin’s The Awakening in terms of Propp’s model of popular narratives. Explain how these character-functions can inform your interpretation of Chopin’s The Awakening.

Pope argues that, when discussing characters, “the emphasis should largely be on characterisation: the kinds of character and the ways in which characters are constructed” (222):

1. Compare and contrast the characterisation of Edna Pontellier with the characterisation of one other character in Chopin’s The Awakening,

   OR

2. Analyse the characterisation of Daniel Quinn in Auster’s City of Glass.

Giving examples from Chopin’s The Awakening or Auster’s City of Glass, explain what is meant by narrative point of view. Develop a reading of your chosen novel (The Awakening or City of Glass) informed by the ways in which it employs narrative point of view. For example, you might discuss how it contributes in The Awakening to its theme of “an awakening” or how it affects the question of the narrator in City of Glass.

Identify an explicit or implied intertextual relation to a work of literature, music, or art in Chopin’s The Awakening or Auster’s City of Glass; trace the source of the reference or allusion; and investigate the significance of the intertextual relation for Chopin’s or Auster’s text as a whole.

Do a close reading of the following passage from Auster’s City of Glass and explain how the passage helps you to interpret the text as a whole:

The detective is the one who looks, who listens, who moves through this morass of objects and events in search of the thought, the idea that will pull all these things together and make sense of them. In effect, the writer and the detective are interchangeable. The reader sees the world through the detective’s eye, experiencing the proliferation of its details as if for the first time. He has become awake to the things around him, as if they might speak to him, as if, because of the attentiveness he now brings to them, they might begin to carry a meaning other than the simple fact of their existence. Private eye. The term held a triple meaning for Quinn. Not only was it the letter ‘i,’ standing for ‘investigator,’ it was ‘I’ in the upper case, the tiny life-bud buried in the body of the breathing self. At the same time, it was also the physical eye of the writer, the eye of the man who looks out from himself into the world and demands that the world reveal itself to him. For five years now, Quinn had been living in the grip of this pun. (8)